Amongst the minor German factories founded in 1756 by the Prince-Bishop of Fulda has a deserved reputation for high quality both in the modelling of figures and the painting of table wares. Another factory, started in 1758 at Ansbach and trans ferred four years later to Bruckberg, closely followed Meissen models. Others of some importance were at Ottweiler in Nassau Saarbriicken (founded 1763), Cassel in Hesse (founded 1766), Pfalz-Zweibriicken (founded 1767), Baden-Baden and Kelster bach. In the forest region of Thuringia, many private factories sprang up soon after 176o making cheap useful wares, as well as imitations (often definitely fraudulent) of the better Meissen china. Very good porcelain, however, was made at Kloster-Veils dorf, Gotha, Ilmenau and Volkstedt. The rather crude figures of Limbach sometimes have an attractive simplicity. Porcelain was also made at Gera, Gross-Breitenbach and Rauenstein.
In the earlier days of Meissen and Vienna no serious attempt was made to prevent undecorated porcelain from reaching the hands of independent enamellers, though eventually the Meissen factory adopted the plan of cancelling its mark (by a cut in the paste) on all defective pieces sold in the white. Amongst many excellent Hausmaler may be mentioned J. Aufenwerth of Augs burg and J. F. Metsch of Bayreuth; Preussler, Ignaz Botten gruber and his pupils H. G. von Bressler and C. F. von Wolfsburg, all of Breslau, who specialized in monochrome painting, chiefly in red and in black, in which last also Jacob Helchis decorated Vienna porcelain in a distinctive manner. The wandering arcanist C. K. Hunger of Meissen, Vienna and Venice, practised a style of paint ing in thick gold, and about the middle of the century, F. Mayer of Pressnitz worked in several styles, and Canon Busch of Hildes heim made original engravings on porcelain with a diamond-point and coloured them with black.
In Switzerland, porcelain was made at a fac tory at Schoren near Zurich, founded in 1763. Though smoky in tone and painted in subdued colours, Zurich china has a very distinct charm and delicacy. Another Swiss factory at Nyon made hard porcelain in French style in the late 18th century.
Hard-paste factories of no great importance were in existence in the i8th century at Weesp (after wards transferred to Oude Loosdrecht and Oude Amstel) and The Hague, where, however, Tournai and other porcelain was sometimes decorated and marked. Paris styles were followed at Etterbeek near Brussels.
At Copenhagen as at Marieberg (Stockholm) soft-paste was made at first. At the former from
about 1760 Louis Fournier from Vincennes made wares in French style until hard-paste began to be made about 1772: in this last a series of Norwegian peasant-figures is noteworthy. At Marieberg, Pierre Berthevin from Mennecy made soft-paste from 1766 to 1769, and a hybrid porcelain was used for the next twenty years.
Hard porcelain in German style was made in Russia as early as 1745, but was scarcely an established manufacture until the time of Catherine II. (1762-96). Amongst the little that is distinctive in the Imperial porcelain from the St. Peters burg factory a series of figures of Russian folk-types may be mentioned. Other factories included one conducted by an English man, Gardner, at Verbilki and Tver near Moscow.
Venice shares with Meissen and Vienna the distinction of a porcelain factory established in the first quarter of the i8th century, in the period of the baroque style. Two brothers, Fran cesco and Giuseppe Vezzi, founded their factory in 172o with the aid of the Meissen and Vienna workman Hunger. It ceased to exist soon after the death of the first-named in 1740. The Vezzi porcelain resembles Meissen in its technique of painting, in which iron-red plays a prominent part, but a certain Italian fantasy and irresponsibility distinguishes it. Another Venetian factory seems to have been in operation from 1758 to 1763 under one Hewilcke of Dresden, but little is known of it, and that founded by Geminiano Cozzi in 1765 made most of the porcelain for which Venice is celebrated. Meissen was again much imitated, but the fantastic Italian rococo and a freshness of colour mark much of the Cozzi china, which was a kind of soft-paste. The existing Doccia factory was founded about 1735 by the Marchese Carlo Ginori, with the help of a chemist from Vienna, Karl Wendelin Anreiter. Its earliest work included some distinctive baroque decoration, and later on in the i8th century some highly dramatic groups were made. Factories at Nove, Vinovo near Turin, and Treviso produced more or less original work, whilst at Capo-di-Monte near Naples, a celebrated factory was in opera tion from 1743 until 1759, when its patron Charles, king of Naples, succeeded to the Spanish throne and the establishment was transferred to Buen Retiro. Typical Capo-di-Monte china is a glassy soft-paste, extravagantly decorated with reliefs, often of figure-subjects; it was much imitated at the Naples factory which was in a sense its successor (1771-1821), and at Doccia and elsewhere in the 19th century.